Chance or Circumstance
by gopha productions
Summary: Johnny arrives at a traveling carnival with the intention of protecting a life, and in the process changes the path of his own. (Submitted to agent via the DeadZone script submission process: April03. Still no response from agent: December03).
1. Dead Zone Spec Script TeaserAct I

THE DEAD ZONE

"CHANCE OR CIRCUMSTANCE"

TEASER

FADE IN:

EXT. BANGOR MAINE FAIRGROUNDS - ESTABLISHING - DAY

A line of trailers is parked along the outer edge.

A group of WORKMEN hoist a towering sign to an upright position. It reads "IPSIG BROTHER'S TRAVELING CARNIVAL EST. 1980"

EXT. IPSIG BROTHER'S CARNIVAL - MIDWAY - DAY

CARNIES set up tents and booths.

CLOWNS sit in a group around a barrel engaged in clown-like pursuits such as putting on face paint and big floppy shoes.

Burly and greasy haired carny STEVE (20's) slogs past, a look of distain on his face. He carries a garish, weather- worn cloth banner. He takes it to an empty booth in a remote corner.

EXT. EVERYBODY WINS BOOTH - DAY

He shakes out the sign. It reads "EVERYBODY WINS". He nails it vertically to a chewed up wooden pole.

A land-locked old salt known as GRIZZLY (60's) to his friends and much worse by his enemies approaches with an armful of cheap prizes.

GRIZZLY  
Careful Steve. That's my lucky banner.   
Gonna' be a lot of lucky people tonight.   
Because everybody wins at Grizzly's games!

Steve winces.

STEVE  
Can I have some time off tonight? I'm  
feeling lucky myself.

Grizzly lifts a bucket of garish toys onto the counter.

GRIZZLY  
You be here on time. You'll work  
your shift. And you'll keep your  
pecker in your pants.

EXT. BANGOR, MAINE - STREET CORNER - DAY

Johnny leans by his side on a wall. Glowers. Bruce stands on line nearby at a roach coach. Johnny checks his watch.

BRUCE  
Relax. I won't make you late for  
your meeting with the reverent  
reverend. You'll have plenty of  
time to go home, and shower and  
shave, and  
(beat)  
change clothes?

JOHNNY  
Not again.

BRUCE  
Yes again. You need to put a little  
color in your life. A little light.  
One of these days I will take you  
shopping. I'll get you hooked up.  
That's right. Get you one of them  
Hawaiian shirts with flowers and  
bamboo and crap on it.

He gestures to his own colorful, casual wardrobe to accentuate his meaning. The line moves.

BRUCE (CONT'D)  
Black and gray are not your best  
colors my friend.

The line moves. Bruce steps up to put in his order.

An ELDERLY WOMAN with a cane rounds the corner. She sees Johnny's cane and smiles. He nods. Their elbows touch.

_EXT. BANGOR, MAINE - STREET CORNER - DAY (VISION)_

He sees a flash of her future. She sits on the bench at the bus stop, and takes out her knitting.

A DENIM CLAD TEENAGER hustles by. He grabs a hold on her purse. She resists. They struggle. She is yanked off the bench and hits the ground. He pulls out a knife. She screams.

He cuts the strap off the bag, yanks it free, and dashes across the street.

The elderly woman, hand on her hip, cries out in pain.

EXT. BANGOR, MAINE - STREET CORNER - DAY

Johnny is back. He watches her shuffle down the street and take a seat on the bench. He takes a casual walk towards her. Pretends to window shop, while keeping one watchful eye turned in her direction. The Denim Clad Teenager, as if on schedule, approaches.

Johnny steps in his way. He's at least three inches taller. The teen has a perfect view of Johnny's throat.

JOHNNY  
(sly, smarmy)  
Go near that nice woman and I'll  
clobber you.

He nudges the teen in the crotch with the cane. The teen looks down, then up. Their eyes meet.

DENIM TEEN  
I wasn't--

JOHNNY  
Going to take advantage of that  
fragile old lady. No. You weren't  
going to hurt someone that probably  
never swatted a fly in her whole life.

The teen reconsiders his actions, turns, and walks back in the direction from where he came.

Johnny does the same. The old woman, oblivious, smiles at Johnny. Johnny nods. He leans his back against the wall. Shines the cane handle on his sleeve.

Bruce returns, also oblivious to the events. Happy as a clam, he gnaws on a fat, greasy burrito. He takes a huge bite.

BRUCE  
(mouth full)  
Having fun holding up that wall?  
You didn't do a thing while I was  
gone, did you? You're stagnant man.  
JOHNNY  
(hiding amusement)  
That so?

BRUCE  
You need to get out more. Have some  
fun. You look about as happy right  
now as a turkey on Thanksgiving.

JOHNNY  
Where do you come up with these  
things?

BRUCE  
It's a gift.

Bruce takes another bite. He points to a curled and torn poster stapled to a pole that proclaims "THE IPSIG BROTHER'S CARNIVAL. THIS WEEKEND AT THE FAIRGROUNDS."

BRUCE (CONT'D)  
Like that. A carnival. That ought  
to lift your spirits.  
(beat)  
So to speak.

JOHNNY  
A carnival. I haven't been to one  
of those in  
(thoughtful beat)  
years.

With one finger, Johnny smoothes down the edge. He's gone.

_EXT. IPSIG BROTHER'S CARNIVAL - SPIN-OUT RIDE - NIGHT (VISION)_

He's seated. Strapped in. Level to the ground. The ride starts off with a jerk. Slow and deliberate in a circle. It jumps and jostles, and lifts off the ground. He throws his arms in the air. And then

EXT. IPSIG BROTHER'S CARNIVAL - MIDWAY - NIGHT (VISION)

He's in a different place and time and a P.O.V. from unknown eyes where all is jittery and spastic. Colorful and noisy.

Lights and music assault his senses. There's people close around. Packed in like sardines. Laughing and talking. They're all unusually large and foreboding. Surreal.

Firecrackers explode on all sides. One flash too close and

INT. UNKNOWN LOCATION (VISION)

He is somewhere else altogether. A place of dark and quiet.

A vertical sliver of light breaks into the black. Then there are legs, and hands and something oversized and unclear. The vision is drowned in water. And then Johnny is

EXT. BANGOR, MAINE - STREET CORNER - DAY

On the street. He drops his hand. The corner of the poster curls up.

JOHNNY  
Looks like fun.

Bruce, knowing well the expression on Johnny's face, slam dunks the last of the burrito into a trash can.

BRUCE  
You look real excited. What time  
should I pick you up?

JOHNNY  
Seven is fine.

FADE OUT

END OF TEASER

  


ACT I

FADE IN:

EXT. IPSIG BROTHER'S CARNIVAL - MIDWAY - DAY

Magic hour. A light crowd. The music is loud. The drums pound out a relentless beat. Neon lights flicker in random order.

Johnny and Bruce make their way through the maze of activity.

BRUCE  
So you gonna tell me what you saw?  
(his attention zooms elsewhere)  
Oh hey. They got funnel cakes. I  
love those.

JOHNNY  
What's a funnel cake?

BRUCE  
It's a flat doughnut cake-ish kind  
of thing, with powdered sugar on it.  
(beat)  
Hey! Don't change the subject.

JOHNNY  
You brought it up. I'm not sure  
what it meant. But it happened here.

BRUCE  
Concessions are over there.

He makes a show of pointing out the food.

JOHNNY  
You're gonna waste away if you  
don't get a flue cake in the next  
half hour?

BRUCE  
Funnel. Funnel cake. And yeah, I  
need my dinner, man! I'm a growing  
boy.

EXT. BIG MOUTH GAME - DAY

A JADED CARNIE dances around a wood placard bearing the image of a maniacally grinning clown. The mouth has been cut out. The Jaded Carnie runs off at the mouth with his yelled- too-many-times mantra.

JADED CARNIE  
Toss a ball. Feed the clown. Win a prize!  
(a fake happy laugh)  
Toss a ball. Feed the clown. Win a prize!

BRUCE  
Remind you of anyone?

Johnny shrugs. Then realization passes his face. He grins.

BRUCE/JOHNNY  
Purdy!

Bruce smacks Johnny on the back.

BRUCE  
See? We're having fun already. We  
just had a moment there, you and I.

Johnny rolls his eyes, and walks away.

BRUCE (CONT'D)  
I got a cousin who's afraid of  
clowns. It's okay if you are too.

EXT. MIDWAY - DAY

Johnny wanders through the crowd. He sticks to the less traveled paths and avoids brushing against people. He touches random objects, but no visions come.

EXT. COTTON CANDY BOOTH - DAY

Johnny skirts the line, causing those waiting to grumble and complain. He places a hand on the side of the booth.

_EXT. COTTON CANDY BOOTH - NIGHT (VISION)_

His vantage point changes to the P.O.V. of the unknown eyes looking UPWARD at the window and into the face of the kindly female COTTON CANDY VENDOR who smiles back, and hands out one of the huge blue wads of spun sugar on a stick.

COTTON CANDY VENDOR  
Here you go honey. Don't eat too  
fast.

The sugary blue substance blots out everything else.

EXT. COTTON CANDY BOOTH - DAY

Johnny digs the palm of one hand into one eye. Shakes it off.

JOHNNY  
I think it's a little girl.

BRUCE  
Who? Wait. Never mind. Where to next?

EXT. PALM READER TENT - DAY

A banner proclaims "MADAME BOLIVAR. TAROT, PALM READING & FORTUNES TOLD".

Under the scarf adorned tent is a round plastic table and two chairs. There is a stack of worn tarot cards in the center next to a framed sign that reads: "I WILL KNOW WHEN YOU ARRIVE. PLEASE SIT AND WAIT."

Johnny takes a seat.

BRUCE  
This ought to be interesting.

MADAME BOLIVAR (40's) clad in something close to a re-sewn window dressing with a turban style hat, emerges from behind a curtain.

She swoops down into the empty chair, and stares into Johnny's eyes. The deepest wrinkles on her face are caked with makeup.

She throws her arms in the air, and makes awkward circular gestures with her hands.

MADAME BOLIVAR  
(a really horrid gypsy accent)  
What have you come to ask of Madame  
Bolivar? A question on love? A  
question on fortune? A question on  
fashion?

Bruce chuckles. Johnny throws him a dirty look. Bruce stifles his laugh.

JOHNNY  
I'm looking for information--

MADAME BOLIVAR  
They are all looking for information  
when they come to see Madame  
Bolivar. Let me see your hand.

Johnny puts his hand, palm up onto the table. Madame Bolivar makes a few more odd motions. She places her hands on his.

A flash and

_EXT. UNKNOWN LOCATION (VISION)_

A bolt of light reveals an oversized, cheaply made stuffed lion.

EXT. PALM READER TENT - DAY

Johnny finds Madame Bolivar gyrating in her seat. Eyes shut tight, she moans and groans.

Johnny, eyes wide, looks at Bruce, who is doubled over in laughter. Johnny cannot help but allow a snort of his own.

Madame Bolivar opens one eye.

MADAME BOLIVAR  
Fine. Laugh. Mock me all you wish.  
But where the hell did you go just  
then?

She lets go of his hand.

MADAME BOLIVAR (CONT'D)  
(Jersey shore J.A.P. all the way)  
We all have to make a living honey.  
Some of us get in the papers and on  
television, some of us end up  
working a dump like this. What the  
hell does someone like you need  
from someone like me anyway?

JOHNNY  
How about your eyes and ears. You  
see any trouble? Maybe last night?  
Somebody maybe beating on someone  
else?

She shuffles her tarot cards, and lays a few out on the table.

MADAME BOLIVAR  
A few drunk guys smacking their  
girlfriends around. That happens  
more than not. But that's all. I  
don't have much time to notice,  
y'know? I'm workin'. I get busy.

Johnny stands and drops a few dollars on the table.

She stuffs the bills into her bra.

MADAME BOLIVAR  
If I experience any manifestations  
I'll let you know.

BRUCE  
(deadpan)  
Great. Thanks.

MADAME BOLIVAR  
For a kindred spirit, anything.

Johnny and Bruce leave Madame Bolivar to her tarot cards.

BRUCE  
Kindred spirit. Yeah.

They head in the opposite direction.

EXT. HIGH STRIKER TEST OF STRENGTH GAME - DAY

The operator, DWAYNE (30's), a dirty man with a puffy left eye, holds up an oversized mallet. Points at Bruce with the handle.

DWAYNE  
(southern accent)  
You look like a live one. Come on  
and see if you can't win a prize  
for your girlie. You gotta be tough  
to win this game. Are you tougher  
than me? Come prove it. I got this  
black eye--

He points to his shiner.

DWAYNE (CONT'D)  
Fighting off ten men. And I won.

MADAME BOLIVAR (O.S.)  
(loud but distant)  
Don't listen to him. He's a liar  
and a troublemaker. Worse yet--  
(laughter)  
He's a Taurus!

DWAYNE  
Shut up old bag!

Bruce swaggers over. Johnny steps in his way. He encircles the hand Dwayne has on the mallet with his own.

_EXT. HIGH STRIKER TEST OF STRENGTH GAME - NIGHT (VISION)_

He sees via a P.O.V. STEEPLY TILTED UPWARD looking at the target which appears very far away. The gaze shifts and lingers on a blond haired kewpie doll.

Child-like laughter rings out. An adult woman's hands engulf a smaller pair around the handle to keep the mallet steady. It rises and falls with very little force. A buzzer sounds. They lose.

DWAYNE (O.S.)  
(filtered)  
Better luck next time retard.

EXT. HIGH STRIKER TEST OF STRENGTH GAME - DAY (VISION)

The P.O.V. shifts to third person.

Johnny watches as Dwayne, sans puffy eye, pinches the behind of a PETITE YOUNG WOMAN. She turns and punches him dead in the face. He covers his eye.

DWAYNE  
Hey! What did I do?

EXT. HIGH STRIKER TEST OF STRENGTH GAME - DAY

Dwayne pulls his hand loose. The mallet falls to the ground.

DWAYNE  
You gonna play or not? Or are you  
just one of them funny guys?

JOHNNY  
I don't know what you mean. But I  
do know how to treat a lady. Keep  
your hands to yourself and you  
won't have all those shiners.

He leaves Dwayne gaping.

BRUCE  
You sure told him.

JOHNNY  
She had someone with her.

BRUCE  
Who?

JOHNNY  
The little girl. But it's not a  
parent. I didn't get that. But she  
needs help. Maybe all the time.

EXT. DUNK TANK - DAY

From the next attraction, a soaking wet MEAN CLOWN hoots and hollars at the top of his lungs.

MEAN CLOWN  
Hey, look at the gimp. Got a big  
mouth dont'cha? Bring that over  
here. Hey gimpy, can you throw  
better than you walk? I bet you  
can't hit the side of a barn with  
the side of a barn. Give us a kiss,  
peg leg!

Johnny and Bruce wander over.

BRUCE  
(loud at the clown)  
You gonna take that from some guy  
in makeup sitting two inches above  
water with a wet ass?

JOHNNY  
That kind of stuff doesn't bug me.  
It's his job.

MEAN CLOWN  
I knew it. He's a pansy. Big wussy  
baby. Can't throw. Can't throw. Peg  
leg, I think I love you! I'm dry,  
but you're always all wet!

Bruce drops a dollar on the counter. Picks up a ball. Hands it to a reluctant Johnny.

A wave of emotion overtakes Johnny. Feelings that belonged to other people who touched it before him. Tension. Anger. Annoyance. He squeezes the ball hard. His knuckles turn white.

He aims and fires off a rocket of a shot. It hits the target. Sirens blare. The Mean Clown hits the water. A small group of passerby cheer.

The Mean Clown rises out of the water and spits out a mouthful through the wire mesh.

MEAN CLOWN  
I bet you couldn't do that again,  
peg leg!

They leave the Mean Clown spitting and growling in the tank. Someone pats Johnny on the shoulder.

_EXT. MIDWAY (MONTAGE VISION)_

Little snippets. Flashes. Disjointed. Spastic. The stuffed lion. The dark. Bright flashing lights. Something yellow. The lion. A hotdog with everything. Strawberry ice cream in a bowl.

EXT. TILT-A-WHIRL - NIGHT (VISION)

Too much light. Too much dark. Spinning out of control. A voice wails out in fear. Then two voices. Then three. Then many. But not in pain. They're having the time of their lives.

The vision shifts to third person.

Johnny hovers above the ride. He crouches mid-air and scans the group of riders for a clue. The wheel spins too fast. He can't see. He concentrates hard. A flash of pain crosses his face as a passing white light blinds him. The ride slows as does the rock music that engulfs him. The music morphs into something almost evil. A warped electronic drum beat. It pounds in Johnny's ears.

He sees men, women, and children. Nothing out of the ordinary.

He's in a seat as the ride and music jump back to normal speed.

EXT. MIDWAY - NIGHT

Johnny holds a hand to his forehead. Groans. He's disoriented.

JOHNNY  
You're spinning. I'm spinning. That  
hurt. I'm getting a headache. It's  
too loud. Too bright. Hey, when did  
it get dark?

He grimaces, doubles over and retches onto the ground. Bruce jumps back a foot.

BRUCE  
Here take this.

He hands Johnny a handkerchief. Johnny wipes his mouth and chin.

JOHNNY  
How do I look?

BRUCE  
Perfect. You're stylin'. Really.  
(a quick change of subject)  
I'm still hungry. You?

JOHNNY  
Don't talk about food.

Bruce takes a few jaunty steps off towards the concessions. Johnny doesn't budge. Bruce jogs in place a few steps, and motions 'come on'. He scowls and walks back.

BRUCE  
What?

JOHNNY  
I think--

BRUCE  
You'll warn me if you're going to chuck again.

JOHNNY  
No. I'm fine.

He rubs his eyes.

BRUCE  
You know what? I saw a sign for a  
business office as we came in.  
Let's go over there, and ask about  
your girl. And while we're there,  
you can sit down for a while. Or  
lay down on a stretcher or something.  
One with wheels. Just in case they  
need to take you out of here real  
quick.

FADE OUT

END OF ACT I


	2. Dead Zone Spec Script Act 2

THE DEAD ZONE

"CHANCE OR CIRCUMSTANCE"

ACT II

FADE IN:

EXT. IPSIG BROTHER'S CARNIVAL - ESTABLISHING - NIGHT

A rickety trailer sits at the edge of the parking lot where it abuts the entrance gate.

INT. BUSINESS OFFICE

A rickety, windowless trailer. Makeshift surroundings. Many times painted over and chipping folding chairs. A mottled desk.

A clothes rack stands in one corner, holding a variety of garish outfits, ranging from a tuxedo with tails to a belly dancer's halter and bikini.

Behind the desk, in uniform, is Walt.

Johnny and Bruce exchange an 'it figures' look.

Walt looks up with a smile. He sees Johnny and the smile drops from his face.

WALT  
John. Bruce. What can I do for you?

Johnny and Bruce exchange another look. From Johnny 'What do I say?' and returned by Bruce 'You're asking me?'

WALT (CONT'D)  
Come on. Spit it out.

JOHNNY  
I think there's someone in trouble.  
Well, maybe. Here at the carnival  
for sure. I don't know who, or  
when, or how. Yet. But I know  
there's a problem. Or there will be.

WALT  
You think. Maybe. They run a safe  
carnival here. They have all the  
right permits. The rides were  
inspected. So far I haven't gotten  
any reports of injury on the midway  
or the rides.

He shrugs.

WALT (CONT'D)  
We have had a few stomach aches  
from the firebrand enchiladas--

JOHNNY  
It isn't like that.

The door opens. A SEVEN YEAR OLD GIRL in tears shuffles in, trailed by Sarah.

SARAH  
Hon? I found this poor little thing  
wandering around by the Four-H. I  
think she's--

Sarah sees Johnny and Bruce.

SARAH (CONT'D)  
Hi Bruce. Johnny.

BRUCE  
Hey Sarah. Volunteering for the  
school?

SARAH  
Uh-huh.  
(to Walt)  
I gotta get back. I'll leave her in  
your hands.

JOHNNY  
(terse)  
We're in the middle of something.

SARAH  
So am I.

JOHNNY  
(to Walt)  
Can we talk outside?

WALT  
(to Sarah)  
I'll be right back.

Walt stands, puts on his hat and exits.

EXT. BUSINESS OFFICE - NIGHT

Johnny leans on the trailer. Walt paces. Bruce observes it all with great interest.

WALT  
I don't know what it is with you,  
John. But it's always something.  
You've got a good record I give you  
that, but sometimes  
(beat)  
sometimes I think you just go  
looking for trouble to find, and  
eventually it finds you.

JOHNNY  
I was just here for the funnel cakes.

Walt stops pacing.

WALT  
Bring me proof. Solid, concrete  
proof that there's a problem and  
I'll get my men on it. But till  
then you keep a lid on whatever it  
is you got going on in that head of  
yours. I don't even want to know  
about it, and I don't want you  
panicking this crowd. You understand  
me?

JOHNNY  
Perfectly.

EXT. MIDWAY - NIGHT

Johnny moves as best as he can through the crowd, which is bursting at the seams. Bruce is a step ahead. Searching the crowd, but for what he doesn't know.

EXT. EVERYBODY WINS BOOTH - NIGHT

Johnny stops dead in his tracks.

JOHNNY  
This is the booth.

He runs his hand down the banner, and chewed up post.

Grizzly approaches, and gives Johnny the hairy eyeball.

GRIZZLY  
You've looked at the woodwork, son.  
You can take a step back now.

Johnny takes one small deliberate step back.

GRIZZLY (CONT'D)  
Care to take a chance?

BRUCE  
Doesn't look too hard to me. You  
just throw the balls at the target,  
and miss, and then you walk away  
with less cash in your pocket than  
you came with.

GRIZZLY  
(with false humor and bravado)  
Didn't you read the banner, son?  
Everybody wins!

BRUCE  
(to Johnny)  
My dad showed me all the tricks  
when I was a kid. Nothing's changed.

Grizzly holds up a bucket of baseball sized PLASTIC BALLS in three shades of green.

GRIZZLY  
Put your money where your mouth is.

He slams the bucket down on the counter.

Bruce looks at Johnny. Johnny shrugs. Bruce rummages in his pocket and pulls out a small wad of cash. He plunks down a few bills on the counter. Grizzly hands Bruce three of the green balls.

Bruce winds up, aims and throws. He misses the first target by a big margin. He takes the second ball, winds up, aims and throws. He gets a little closer but not by much.

Johnny is visibly amused. Bruce is not.

Bruce takes the third ball, and without any fanfare throws it at the target. It falls to the floor like a lead weight.

BRUCE  
See? It's a scam. No way I could  
miss that bad.

GRIZZLY  
You accusing me of something? I run  
an honest game here.  
(to Johnny)  
Why don't you show your friend here  
how its done. You look like you're  
a strong fellow.

Johnny looks down at himself, and his cane. He ponders that for a second.

JOHNNY  
Why not. Bruce, pay the man.

Bruce blusters, then lays out the cash. Grizzly hands Johnny three of the lightest colored green balls. Johnny tosses the first, and hits the target slightly off center. The second toss is the same, as is the third.

GRIZZLY  
Sorry my friend. Better luck next  
time.

BRUCE  
(to Johnny)  
I told ya. Come on. Let's go.

Steve the carnie, in a silly hat with moose ears, steps up.

STEVE  
I can do better than that!

GRIZZLY  
You come right on up, son. Take a  
chance.

Steve puts down a few bills and is handed three DARK RED BALLS. He tosses the first, and misses. He tosses the second, and hits the target off the mark. The third ball thrown hits dead center. A siren sounds, and lights flash.

GRIZZLY  
(to the crowd)  
See? Everybody wins!

Grizzly grabs the smallest, ugliest prize, and gives it to Steve.

GRIZZLY (CONT'D)  
Care to try double or nothing?

STEVE  
No thanks.

Steve backs away.

A TEENAGE GIRL takes his place. She puts down her cash and is handed three YELLOW PLASTIC BALLS from a container under the counter.

Grizzly reaches back under the counter.

The girl lobs the first underhanded at the target. It just misses. Lights sound and the siren blares.

GRIZZLY  
Everybody wins!

He hands the happy teenage girl a large stuffed animal.

Johnny motions to Bruce 'come here'. They wander away from the booth.

JOHNNY  
It's rigged all right. I bet he  
controls the lights and siren under  
the counter. He kept reaching down.  
Those balls are probably weighted  
differently by the color. He gave a  
yellow one to the girl.

BRUCE  
I could have told you all that  
before I spent my money.  
(he gets it now)  
You need one.

Johnny nods.

BRUCE (CONT'D)  
One leaded yellow projectile coming  
up.

They approach the booth. Bruce from the front, and Johnny from the side. Johnny leans in and reaches for one of the targets.

Grizzly jumps up, and charges over.

GRIZZLY  
You! Get away from there. That's  
private property. And I don't want  
anyone touching it.

JOHNNY  
I didn't mean any harm. I just  
wanted to see what it was made of.  
My friend and I have a bet going.

Meanwhile, as Grizzly is distracted, Bruce climbs over the front counter and rummages in the buckets for a yellow ball. He grabs one, and scoots back to the other side of the counter just as Grizzly turns around.

GRIZZLY  
What you got there son?

Bruce drops his hand to his side. He drops the ball to the floor.

BRUCE  
Nothing.

He shrugs. Palms up. 'Who me'?

GRIZZLY  
What did you take from behind my  
counter? I don't put up with  
stealing. Give it back or I'll have  
you tossed.

Bruce lifts up his jacket, and turns a three-sixty, while at the same time kicking the ball away from the booth and towards Johnny who lurks in the shadows.

EXT. NEARBY THE EVERYBODY WINS BOOTH - NIGHT

Johnny picks up the ball. He is swept away into the

EXT. EVERYBODY WINS BOOTH - NIGHT (VISION)

P.O.V. through someone else's eyes

But not the same pair. The perspective is different. Calmer. Level. An adult's view of the world. A tug on a sleeve. A tilt of the head down to reveal the face of BECKY (30's), and adult woman with Down's Syndrome.

BECKY  
(naturally slurred)  
Jackie can I play the game?

The P.O.V. shifts to Becky's. Uneven and TILTED UPWARD, looking at JACKIE (20's) a smiling and pleasant but unremarkable woman.

JACKIE  
Go for it, Becky!

Becky turns from Jackie and looks up into Grizzly's smarmy, leering face. He doesn't mask his disdain.

GRIZZLY  
(warped/filtered/overly slow)  
Do you know how to throw a ball?

BECKY  
Yes. I know how.

A dark green ball comes into view. It is tossed hard, but it travels only inches. A second ball, dark red, goes further but not nearly close enough. Arms encircle Becky.

Another ball in yellow is held in a pudgy hand cupped by another with long fingers. They throw together. The ball hits the target.

GRIZZLY  
Everybody wins!

Lights flash. A siren sounds and the P.O.V. shifts.

Johnny stands free next to Becky and Jackie as Becky receives her prize. A small stuffed animal. She is disappointed. Whispers to Jackie.

GRIZZLY  
Speak up girl. Did you want to try for double or nothing?

JACKIE  
She was wondering what it would  
take to win one of the big animals.

GRIZZLY  
I ain't got no more. These are the  
last and they're for show.   
(beat)  
Well, I do have one more. Back in  
the truck. Might be a bit dusty,  
but nothing is wrong with it. If  
she wants it.

BECKY  
I want a big animal. Please, Jackie?

Becky jumps up and down. Jackie checks her watch.

JACKIE  
I gotta meet somebody. When can you  
have it here? So we can come back  
for it?

Firecrackers spark and pop nearby.

GRIZZLY  
I can't leave my booth. You'll have  
to go with--

A flash from a firecracker comes very close. The light blinds Johnny. He covers his eyes.

EXT. NEARBY THE EVERYBODY WINS BOOTH - NIGHT

Johnny is back in the present. A cherry bomb explodes at his feet. He staggers backwards.

Two MISCHEVEOUS BOYS dash out of the shadows. They giggle and point.

Steve runs towards them, arms flailing.

STEVE  
You kids get out of here. Don't you  
know that's dangerous? Where are  
your parents?

The boys run away.

Steve spots Johnny. Scowls.

STEVE You two still here? If you ain't  
gonna play any games, you'd better  
move along and make room for  
someone with money to spend.

JOHNNY  
You work here.

STEVE  
(sneering)  
Yeah. And I'm proud of it.

JOHNNY  
So what do you plan to do with that  
toy you won before?

Bruce joins them.

STEVE  
Get out of here before I throw you  
out.

BRUCE  
That's what all you rough, tough  
carnies always say.

Steve invades Bruce's space. Bruce backs down.

BRUCE (CONT'D)  
Hey it's cool. You're just doing  
your job.

STEVE  
Thought so. I don't want to catch  
you two over here again.

He departs.

BRUCE  
I don't think we're allowed to play  
at his house anymore.

JOHNNY  
(his wheels are turning)  
I know somebody that will be.

INT. FOUR-H OFFICE - NIGHT

Sarah is showing a TEN YEAR OLD BOY a rabbit. A phone rings. Sarah hands the rabbit off and reaches for her purse. She digs out her cell and without thinking answers.

SARAH  
Hey baby. When will you be done?  
I'm lonely.

JOHNNY OVER THE PHONE  
I can be right there if you really  
want.

SARAH  
(startled)  
Johnny? I thought it was--  
(beat)  
I'm so embarrassed. Where are you?

JOHNNY OVER THE PHONE  
Just outside the Four-H.

EXT. FOUR-H OFFICE - NIGHT

JOHNNY  
Can you get away? I need your help  
with something. Real quick. Real  
simple. Well, not really--

INT. BUSINESS OFFICE

Walt shuffles papers at the desk. The phone rings. He answers.

WALT  
Yeah? Where? Can I get your name?

The line goes dead.

Walt stands, puts on his hat, and exits the office.

The door opens. Bruce drops Johnny's cell into his pocket. He heads for the clothes rack, and pulls several outfits off their hangers. He leaves.

EXT. MIDWAY - NIGHT

Johnny leans against a pole. Checks his watch. And then again.

SARAH (O.S.)  
You can stop checking. I'm back.

Johnny turns. Sarah is dressed in a long trench coat.

SARAH (CONT'D)  
I don't know what I'm doing.

BRUCE  
Nice togs.

JOHNNY  
Did you?

He gives Sarah the once-over. She sighs and opens the coat to reveal a black leather mini-skirt and a low-cut red satin blouse.

BRUCE  
Now that is what I call a  
distraction.

SARAH  
This was the lesser of the evils.  
There was no way I was putting on  
that belly dancer outfit.  
(beat)  
You couldn't ask someone else to do  
this?

JOHNNY  
Someone else is out of town. And  
you're here.  
(enjoying the moment)  
Something is not quite right though.  
I think you could hike the skirt up.

He gestures for effect.

JOHNNY (CONT'D)  
Maybe tie the bottom of the blouse  
up in a knot?

He reaches out towards her mid-section.

SARAH  
That's going too far.

She pushes his hand away.

SARAH (CONT'D)  
I'm--

EXT. A DIFFERENT CARNIVAL - NIGHT (VISION)

From the third person Johnny watches as the last moments of his old life pass by at high speed. The roulette game. The make out session in the car. Sarah's face. Young, beautiful, and full of love.

EXT. IPSIG BROTHER'S CARNIVAL - BUSINESS OFFICE - NIGHT

Sarah looks into Johnny's eyes. Waits for him to return. He does.

SARAH  
Welcome back. How ironic. You were  
only supposed to be gone a few  
minutes back then--  
(beat)  
JJ always asks to come to the  
carnival, every year. His dad  
(matter of fact)  
Walt. Always takes him. I ran out  
of excuses for why I didn't go. At  
first I wasn't sure I could face  
it-- Johnny covers Sarah's hand with his own.

JOHNNY  
This is hard for me too.

She pulls away.

SARAH  
Let me finish. But it isn't as hard  
as I thought it would be. I started  
with the volunteer work. Then it  
was easy. We'd actually planned on  
coming back here tomorrow night. As  
a family. I'm not psychic Johnny,  
but I have a pretty good idea of my  
life path.

She runs a hand through her hair. Straightens the blouse. Yanks down the skirt. Screws up all the courage she can muster.

SARAH (CONT'D)  
Let's get this over with. Point him  
out and tell me what I have to say.

EXT. EVERYBODY WINS BOOTH - NIGHT

Sarah strolls up. Grizzly's attention locks directly on her cleavage. He hikes one leg onto the counter, and leans an arm on it.

GRIZZLY  
(to her breasts)  
Hello there pretty lady. What can I  
do for you this fine evening. I'm  
at your beck and call.

SARAH  
(barely hiding annoyance)  
Does everybody really win here?

Grizzly looks up at her face. His carnie instinct kicks in.

GRIZZLY  
Everybody wins! Three balls for a  
dollar, five for two. But for you,  
six. Because you have the  
(back to her breasts)  
prettiest face I've seen in a long  
time.

She tosses money onto the counter. He gives her six yellow balls. She tosses one. Misses. Tosses the second. Misses. Tosses the third and hits the target dead on. The siren blares.

GRIZZLY  
And the little lady wins a prize!

He hands her a medium sized stuffed animal.

Sarah purses her lips and pouts. She leans over just a little.

SARAH  
But I was hoping for one of the big  
ones.

Grizzly balks. He wipes his chin with a dirty handkerchief.

GRIZZLY  
We're all out of the big prizes.

SARAH  
Maybe you have something in storage?  
We could maybe go look?

She leans over a little more.

Grizzly hurls himself over the counter.

GRIZZLY  
Steve! Steve come on out here.

Steve appears from behind the booth.

GRIZZLY (CONT'D)  
Watch the booth. I got something to  
do.

Steve leers at Sarah. She ignores him, and walks off with Grizzly.

Bruce and Johnny step out of the shadows and follow.

EXT. GRIZZLY'S TRUCK - NIGHT

Grizzly ambles to the cab, climbs in and pulls out a flashlight. He returns and hands it to Sarah.

GRIZZLY  
Hold his up so I can see.

He throws open the back of a beat-up semi. He holds his hands down, fingers intertwined, motioning 'come on'. She hesitates.

GRIZZLY (CONT'D)  
I won't hurt you. I've got a bad  
reputation but I'm just a harmless  
grumpy old man.

She looks around, relents, and he lifts her into the truck.

He clambers in and disappears into the dark.

She holds up the flashlight. Within seconds the light flickers out. She smacks the bottom.

GRIZZLY (O.S.)  
Shine that light here, girly. I  
can't see a thing.

SARAH  
The batteries are dead.

Grizzly comes back into the light. Rips the flashlight from her hand. She steps back a few feet. Presses her back against the truck wall.

He shakes the flashlight. Notices her trepidation.

GRIZZLY  
You still think I'll hurt you?  
Why'd you come here? Why'd you drag  
me back here?

He looks out of the back of the truck. Searching.

GRIZZLY (CONT'D)  
Who's out there? Show yourself!

He turns back to Sarah. Wields the flashlight like a weapon. Invades her space. Grabs her wrist.

GRIZZLY (CONT'D)  
You tell me what you want. You had  
better speak up, woman!  
(yelling)  
Who are you?

FADE OUT.

END OF ACT II


	3. Dead Zone Spec Script Act 3

THE DEAD ZONE

"CHANCE OR CIRCUMSTANCE"

ACT III

FADE IN:

EXT. GRIZZLY'S TRUCK - NIGHT

Grizzly tugs on Sarah's wrist. She groans in pain.

Johnny and Bruce appear out of the dark.

JOHNNY  
Back off! Get away from her!

She squirms out of Grizzly's grasp. Jumps out of the truck. She runs just past Johnny and into Bruce's arms.

SARAH  
(angry)  
Where have you been?

BRUCE  
We've been with you the whole time.

GRIZZLY  
What's this all about? Who are you?  
Are you with the D.A.? I paid that  
back alimony, and I ain't had  
nothin' to do with that crooked  
brother of mine since he got out--

Johnny holds up a silencing hand.

JOHNNY  
We're not police.

VOICE (O.C.)  
Someone call security!

Johnny turns. A crowd has gathered behind them.

LATER

Sarah tries to blend into the background. She clutches her coat tight, pulling it closed.

Walt pushes through the crowd. He sees Johnny. He's not surprised.

Walt scans the crowd, and spots Sarah. Their eyes meet. His expression changes to one of confusion, and burgeoning anger. He walks over.

WALT  
(whispered)  
What are you doing here?

SARAH  
I was going to visit you. And I  
heard the commotion. Thought I'd  
check it out.

He gives her a quick noncommittal hug.

WALT  
Where'd you get the coat?

SARAH  
I. We. I--

Her eyes lock on Johnny's. Walt follows her gaze. He frowns and walks away.

LATER

Sarah leans on the truck. Uncomfortable. Johnny stares at her. Through her. She avoids his gaze.

Walt jumps out of the truck followed by a DEPUTY.

WALT  
There's nothing there.

SARAH  
Deja vu.

WALT  
What?

JOHNNY  
(halting/guilty)  
That's what I thought. When I  
checked it out before. I was just  
telling Sarah that when you came by.

Walt looks from Sarah to Johnny and back.

WALT  
Why don't I believe one word of  
what either of you have said this  
whole time?

INT. BUSINESS OFFICE

Walt paces from one side of the room to the other. He's so angry at Johnny he can only sputter.

JOHNNY/SARAH  
I can explain/There's a good reason--

Walt dumps over a pencil holder. Picks up the phone. Slams it down.

GRIZZLY (O.S.)  
I'd like to hear the reason.

WALT  
Shut up. I haven't decided if I'm  
going to press charges against you  
for assaulting my wife.

GRIZZLY  
I was set up.

WALT  
(to Johnny)  
Go ahead. Explain.

LATER

GRIZZLY  
What does this have to do with me?  
I remember that retarded girl, but  
I didn't touch her. I gave her the  
lion and never saw them again.

WALT  
Just the same you're coming with me  
down to the station.

JOHNNY  
(to Walt)  
We might not have that much time.

Walt scowls. Gives Johnny a 'you'd better know what you're doing' look.

JOHNNY (CONT'D)  
(to Grizzly)  
Give me your hand. We'll know for  
sure. Right now. And nobody has to  
go anywhere.

GRIZZLY  
I know my rights. I don't have--

WALT  
I might consider dropping the  
assault charge.

Johnny pulls up a rickety chair. Grips Grizzly's hand in his own.

EXT. EVERYBODY WINS BOOTH - NIGHT (VISION)

Johnny's P.O.V. Lights flash, sirens blare.

BECKY  
I want a big animal. Please, Jackie?

Becky jumps up and down. Jackie checks her watch.

JACKIE  
I gotta meet somebody. When can you  
have it here? So we can come back  
for it?

Firecrackers spark and pop nearby.

GRIZZLY  
I can't leave my booth. You'll have  
to go with--

Fireworks crackle and pop.

GRIZZLY  
I can't leave my booth. You'll have  
to go with my apprentice Steve.   
(loud) Steve! Come here. I need you.

Steve approaches. He chugs from a can of beer.

GRIZZLY (CONT'D)  
Take these nice ladies to the truck  
and get them the big lion. The one  
in the back corner. It's dusty but  
they can have it.

Steve lets his gaze linger on Jackie. It moves to Becky. She gives him a bright smile. He frowns, and makes a face.

STEVE  
(drunk)  
I got better things to do.

GRIZZLY  
Like what? You haven't a damn thing  
to do. Do as I say if you want to  
keep your job.

Steve finishes off the beer, crumples the can, and throws it on the ground at Becky's feet. The smile drops from her face. She is confused. Jackie pulls her close.

STEVE  
You always threaten me. Nobody else  
would work for you. You're a tired  
old man, and you never   
(belch)  
have anything good to say. Not even  
to them.

He points out towards the midway, where the crowd is watching them.

GRIZZLY  
(to the crowd)  
Move on! Nothing to see here!

The crowd disperses.

GRIZZLY (CONT'D)  
(to Steve)  
You're drunk. Stay here. Don't move.  
(to Jackie)  
I promised you the animal. I keep  
my promises.

He climbs over the counter, and walks towards the trucks. He motions for Jackie to follow.

GRIZZLY (CONT'D)  
I'm not bringing it. You have to  
come cart it away yourself.

Jackie looks down at Becky. She's smiling. She wants the toy.

JACKIE  
You stick close. Don't let go of my  
hand for anything.

BECKY  
Okay.

Jackie, clutches Becky's hand tight, and they follow Grizzly.

Steve leans on the booth. Sneers at their back.

STEVE  
(mocking)  
Don't let go of my hand. Don't let  
go you retard!

He falls over.

Johnny smirks, and follows Jackie and Becky.

EXT. GRIZZLY'S TRUCK - NIGHT (VISION)

Johnny watches from Becky's P.O.V. She holds onto a dusty, ugly, oversized stuffed lion. She looks UPWARDS into Grizzly's face.

BECKY  
Thank you.

GRIZZLY  
You're welcome. Enjoy! And remember,  
everybody   
(beat)  
you give it a good home.

He pats Becky on the head, and walks away.

INT. BUSINESS OFFICE

Johnny finds Grizzly staring nose to nose into his face. Johnny startles and sits back.

JOHNNY  
(still startled)  
He's telling the truth.

WALT  
Give me a description of the two  
girls. I'll get my men out here,  
and we'll start looking.  
(into a walkie-talkie)  
We're shutting this place down.  
Cordon it off. Nobody leaves.

EXT. FRONT ENTRANCE - NIGHT

An ANGRY MAN argues with a DEPUTY. The Angry Man points to his CRYING CHILD, and the parking lot. A disgruntled crowd has gathered by the sign. They all want to leave. The queue has backed up as the DEPUTIES search the crowd for Becky and Jackie. The noise is deafening.

Several Sheriff's cars drive up, lights flashing, sirens blaring.

EXT. MIDWAY - NIGHT

The rides still operate. The booths are open. It would seem all is well except for the tense looks from the passerby towards the SHERIFF'S DEPUTIES winding their way through the carnival.

Walt, Johnny and Bruce search the crowd for signs of the missing women.

WALT  
(loud over the general noise)  
Has anyone seen a woman with Down's  
Syndrome? She might be carrying a  
large stuffed lion. Anyone?

BRUCE  
It's a big ugly stuffed lion. Speak  
up.

LATER

They pass through a cluster of people heading for the exit. Johnny spots a TALL GIRL with a stuffed lion in her arms. She fades into the crowd.

JOHNNY  
Over there. I think I saw her.

He and Walt head off. Johnny uses his cane to part the crowd.

JOHNNY (CONT'D)  
Sorry. Excuse me. Sorry. Gotta get  
through.

WALT  
Move out of the way people. Official  
business.

The crowd parts. Johnny spots the Tall Girl and speeds over. He touches her shoulder.

JOHNNY  
Excuse me, Jackie?

The Tall Girl turns. She's not Jackie.

TALL GIRL  
Sorry you have the wrong person.

JOHNNY  
I'm sorry. Can I ask you a question?  
Where did you get that lion? I  
mean, what booth did you win that at?

She looks like she's gotten her hand caught in the cookie jar.

TALL GIRL  
I don't remember. We played a lot  
of games tonight.

WALT  
We?

TALL GIRL  
My boyfriend and me.

She taps on the shoulder of a Denim Clad Teen with his back to them.

TALL GIRL  
Hey, where did you win this?

He turns and scans the faces of the people surrounding him. He recognizes Johnny, and balks. Starts to run. The crowd has him boxed in. Walt grabs him.

DENIM TEEN  
I didn't do anything. Keep  
(to Johnny)  
him away from me.

JOHNNY  
Do I know you?

DENIM TEEN  
You're crazy man.  
(to Walt)  
Lemme go.

JOHNNY  
I just want to know where you got  
that lion. If you can remember. My  
girlfriend wants one too.

TALL GIRL  
Okay. He didn't win it. But he  
didn't take it either, okay? We  
found it.

WALT  
Where?

TALL GIRL  
I don't remember. I've had a few.  
Honest. But I'm legal. And I'm not  
driving!

BRUCE  
Where have we heard that before?

Johnny holds out a hand.

JOHNNY  
May I see it?

The Tall Girl hesitates but gives it up.

EXT. GRIZZLY'S TRUCK - NIGHT (VISION)

Johnny watches Becky sitting cross legged on the ground. She plays with the lion. He stoops before her, reaches out, and touches the dirty animal. Becky smiles up at him, as if she can see him. As if she knows. The vision shifts and Johnny watches as

Jackie, stooped before Becky, pats the animal on the head. She stands and stretches. She frowns. Reaches down towards Becky.

JACKIE  
Come on. Time to go.

BECKY  
I don't want to go. I like it here.  
It's quiet.

JACKIE  
(losing patience)  
Becky. It's time to go. We can't  
stay here all night.

Jackie tugs on Becky's sleeve. Becky stands, but digs in her heels.

BECKY  
I don't want to go. I want to play.

Jackie releases her grip.

JACKIE  
Fine. You sit here and play. I need  
a smoke anyway. But don't you move.  
Not one inch. You hear me?

Becky sits down. She makes the lion dance. Giggles.

The vision shifts. Johnny is the lion. Becky giggles, and hugs him.

EXT. MIDWAY - NIGHT

Johnny realizes he's smiling. Notices Walt and Bruce looking at him oddly. He suppresses the 'warm fuzzy' feeling, and gets serious.

JOHNNY  
She really liked that lion. I don't  
think Becky would have just let it  
go.

WALT  
So where is she? Where's her care  
taker?

JOHNNY  
That I don't know. Yet. I want to  
check out the inside of that truck.  
Can I do that?

WALT  
I think that can be arranged.

EXT. GRIZZLY'S TRUCK - NIGHT

Johnny tosses his cane into the truck. He has a hard time trying to lift himself in. Bruce gives him a leg up.

INT. GRIZZLY'S TRUCK - NIGHT

Johnny takes a flashlight from his pocket and turns it on. The inside of the truck is dusty, and full of cobwebs, but not much else.

He spots a pile of cardboard boxes. He crouches nearby. Touches them one by one.

EXT. GRIZZLY'S TRUCK - NIGHT (VISION)

Third person P.O.V. He watches Jackie lean against a wall, and try and light up. Her match refuses to spark. A hand holding a lighter appears.

Steve winks and flicks the lighter on.

JACKIE  
I don't want any trouble.

STEVE  
Then you shouldn't be wandering  
around the place all alone. This is  
a employee only area.

JACKIE  
I didn't see any signs.

STEVE  
You always did have a big mouth.

JACKIE  
What do you want, Billy?

Steve looks around. He grabs her elbow.

STEVE  
Steve. I go by Steve now. Got it?

Jackie pulls her arm loose.

JACKIE  
Yeah. Fine. Steve. What do you  
want, Steve?

STEVE  
Nothin'. Just to greet an old  
friend. So where's the retard?

JACKIE  
She's not a retard. She's over by  
the truck. Playing with that stupid  
lion.

He twirls a lock of her hair.

STEVE  
She okay alone?

JACKIE  
I should get back. I probably  
shouldn't have left her alone at all.

STEVE  
I know somewhere she'd be safe by  
herself for ten or fifteen minutes.

Johnny follows Jackie and Steve back to Grizzly's truck.

INT. GRIZZLY'S TRUCK - NIGHT (VISION)

Becky's watery eyed P.O.V. Jackie puts the stuffed lion down in the corner. Shuffles the cardboard boxes, and piles them on the floor. She takes Becky by the arm. Leads her over and sits her down.

JACKIE  
Becky, I gotta go do something  
really important with my friend  
Steve, okay? You stay here, and  
don't make a sound. I'll be right  
back.

BECKY  
But I want to come.

JACKIE  
You can't.

STEVE  
Yeah, we're going to fix one of the  
rides, and you gotta be as tall as  
me.

Jackie elbows Steve in the gut.

JACKIE  
Really. I'll be right back.

They walk to the tailgate and jump out. The doors close. Becky is alone in the dark.

BECKY  
Jackie! Jackie? Come back!

Third person P.O.V. in fast forward. Johnny watches in normal time, helpless.

Becky cries to herself, and clutches the lion. She seems to accept her fate and plays with the lion. Later she falls asleep on the floor holding it.

The door opens. A sliver of light breaks into the dark. An INTRUDER towers over Becky.

Johnny can see that the Intruder is large, muscular, and male. But his identity obscured by the dark. Johnny is desperate to see the intruder's face, but cannot.

Becky wakes. She is startled, and cries out as she is forced up from her bed on the cardboard boxes. Tears flow down her face. 

The Intruder puts a hand over Becky's mouth, and drags her out of the truck.

Johnny follows. He can't move fast enough. They're gone.

INT. GRIZZLY'S TRUCK - NIGHT

Johnny rises. Walks back to the tailgate. Below him Bruce and Walt both wear expressions that say 'well?'

JOHNNY  
Jackie or Steve.  
(on Walt's look)  
He's a carnie. Works for our pal  
Grizzly.

BRUCE  
The big dumb guy with moose hat?

JOHNNY  
Yeah. He's full of surprises. His  
name is really Bill Johansen. He's  
a troublemaker.  
(to Walt)  
I bet you'll find a record on him.  
And Jackie knows him. They go way  
back. They're the answer. We need  
to find one or both of them. And  
fast.

EXT. FAIRGROUNDS - CONTINUOUS - NIGHT

Sheriff's deputies wander the outer reaches of the fairgrounds.

The barks of search and rescue dogs can be heard in the distance as the search continues.

EXT. MIDWAY - NIGHT

Johnny scans the remaining crowd. He bumps into someone. She turns to apologize. He turns to do the same.

EXT. SOMEWHERE NEAR GRIZZLY'S TRUCK - NIGHT (VISION)

Johnny is looking at Jackie through Steve's eyes. He leans in for a kiss. She pushes him away.

JACKIE  
You think I'm just gonna fall into  
your arms, Billy, you got another  
think coming.

STEVE  
Steve. Call me Steve. And why not?  
You always did before. Let's have a  
little fun. It's what you came here  
for.

JACKIE  
Well maybe I changed my mind.

STEVE  
Let me convince you to change it  
back.

Johnny's own P.O.V. He watches the couple make-out against the side of the truck. Steve makes quick headway. He grabs her behind. Squeezes hard.

Jackie yowls, and knees him in the groin. Steve sinks to his knees.

JACKIE  
I told you no!

She storms off.

Johnny laughs and watches Steve writhe on the ground for a moment. He steps over him and follows Jackie.

She stops by the cab of the truck and lights up.

Steve stumbles past.

STEVE  
Bitch.

JACKIE  
Jerk!

She kicks the dirt.

JACKIE (CONT'D)  
(muttered)  
Dammit.   
(loud)  
Billy? I mean--   
(beat)  
Steve? Wait up!

She follows.

EXT. MIDWAY - NIGHT

Johnny glowers at Jackie.

JACKIE  
Excuse me. Sorry.

She turns to go. He steps into her path. She steps aside, he does the same.

JACKIE (CONT'D)  
I said I was sorry. I don't want  
any trouble.

JOHNNY  
That's what they always say.

JACKIE  
I don't know what you're on, but  
I'm in a hurry.

JOHNNY  
You ought to be, Miss Connor.  
(off her reaction)  
My name is Johnny Smith.

JACKIE  
How do you know my name?

JOHNNY  
We've been looking for you.

INT. BUSINESS OFFICE

Tears stream down Jackie's face. She weeps into a handkerchief.

Sarah throws an arm over her shoulders.

JACKIE  
I never meant for any of this to  
happen.

SARAH  
Of course not.

JACKIE  
Billy is a jerk, but I don't think  
he'd do anything like you say.

WALT  
Your friend has a rap sheet five  
pages long.

JOHNNY  
I know what I saw.

WALT  
But you didn't see him take her.

JOHNNY  
No. I didn't.

WALT  
We'll keep looking. That's all we can do.

JACKIE  
(to Johnny)  
I've made a mess.

Jackie blows her nose into the handkerchief.

JACKIE (CONT'D)  
(to Bruce)  
Of everything.

She hands it to him.

Bruce makes a face, and holds it by the very edge. He feels a nudge at his elbow from Johnny. They exit the trailer.

EXT. BUSINESS OFFICE - NIGHT

Bruce hands Johnny the handkerchief.

Johnny concentrates.

EXT. GRIZZLY'S TRUCK - NIGHT (VISION)

He watches as Jackie heads back to the truck. Opens the rear door.

JACKIE  
Becky? Come on. Let's get out of  
here.

The truck is empty.

JACKIE (CONT'D)  
(panicked)  
Becky? Becky? Where are you? Don't  
you hide from me. Becky!

She runs off.

EXT. BUSINESS OFFICE - NIGHT

Johnny holds the handkerchief out to Bruce.

BRUCE  
Keep it. Get anything?

JOHNNY  
Well, she's not holding out on us.  
But that doesn't help any.

They hear a ruckus nearby. The Mean Clown, out of costume but still in makeup pulls a drunk, belligerent Steve towards the office.

Walt exits the trailer. The Mean Clown deposits Steve in front of him.

MEAN CLOWN  
I hear you're looking for him. Is  
there a reward? I heard there was a  
reward.

FADE OUT.

END OF ACT III


	4. Dead Zone Spec Script Act 4

THE DEAD ZONE

"CHANCE OR CIRCUMSTANCE"

ACT IV

FADE IN:

INT. IPSIG BROTHER'S CARNIVAL - BUSINESS OFFICE - NIGHT

Grizzly smacks Steve in the back of the head.

GRIZZLY  
What did I tell you about keeping  
your pecker in your pants, boy?  
(to Walt)  
I saw him with the girl. When he  
got his pride hurt, I brought him  
back to the booth. He was there all  
the time after that. He didn't have  
no time to bother nobody else.

WALT  
He won't be bothering anyone else  
for a while. He's got a warrant in  
Oregon for armed robbery, and  
they're waiting for him.

SARAH  
So where is Becky?

JOHNNY  
I think I know.

WALT  
How?

JOHNNY  
Process of elimination. I was dead  
set on finding Jackie. And then  
Steve. I didn't see the forest  
through the trees. And it was right  
in front of my face the whole time.

EXT. HIGH STRIKER TEST OF STRENGTH GAME - NIGHT

The game is deserted. The mallet lies on the ground. Walt picks it up. Johnny takes it from him. A flash of something comes to him.

JOHNNY  
He took her. But he doesn't have  
her now.

WALT  
Where? Do you know where?

JOHNNY  
She got away. But she wasn't alone.

He tosses the mallet aside. Heads in the opposite direction. Walt follows.

INT. PALM READER TENT - NIGHT

Johnny pulls aside the curtain. Seated on an ornate fluffy pillow is Madame Bolivar. She holds out a bowl.

MADAME BOLIVAR  
(in her gypsy voice)  
We've been waiting for you. Would  
you like to join us for some ice  
cream?

Becky holds out her own spoon.

BECKY  
It's good.

She feeds it to the lion. Its face is covered in strawberry goop.

WALT  
What the hell is going on here?

MADAME BOLIVAR  
There are ladies present. Watch  
your language!

JOHNNY  
Really, Walt. Where are your manners?

LATER

They're all seated on the pillows, bowls of ice cream in hand.

MADAME BOLIVAR  
He's a troublemaker. I told you so,  
John Smith. I warned you. But did  
you listen to me? Of course not.  
(her Jersey accent returns)  
I'm not such a fraud after all am I?

Walt hasn't touched his ice cream. Becky eyes it. He hands it to her, she digs in.

WALT  
Where is he now?

MADAME BOLIVAR  
He ought to pick on someone his own  
size. Then again, it didn't take  
much for an old bag like me to take  
him out. One whack with that mallet  
he was down. I gave him to one of  
your deputies about ten minutes ago.

Johnny laughs. Walt doesn't.

EXT. MIDWAY - NIGHT

The hour is late. The crowd is thin. The last few stragglers eat, drink and make their way to the exits. Random lights flicker off.

The last of the hard driving music shuts off.

Sarah and Becky hold hands. Becky skips along, happy, and already having forgotten her earlier scare. Johnny trails behind, sullen.

They approach Bruce and Jackie who wait by the concessions. Becky spots Jackie and takes off running. BECKY  
Jackie!

She leaps into Jackie's arms. They hug each other tight.

BRUCE  
I love a happy ending.

JACKIE  
Me too. I don't know about anyone  
else, but I'm ready to go home.

BECKY  
But I didn't get to go on the merry  
go round.

JACKIE  
You want to go on the merry go  
round? Now? I'm tired. Aren't you  
tired?

BECKY  
No.

Jackie nudges Sarah.

SARAH  
I'm tired too.

BECKY  
I'm not tired. I had a nap. I want  
to stay.

Jackie shrugs 'I don't get it'. Nudges Bruce.

BRUCE  
I'm hungry. I still haven't eaten.

BECKY  
I'm hungry. Look! Funnel cake.

BRUCE You want to get some?

BECKY  
Yes!

BRUCE  
Finally! Someone who appreciates good food.

They head off hand in hand to the funnel cake vendor.

JACKIE  
(to Johnny)  
I can't thank you enough for what  
you did. I don't know how you knew--

JOHNNY  
Me? I didn't do anything. Thank  
Madame Bolivar for her women's  
intuition and knack for Astrology.

Jackie hugs him. He's uncomfortable as usual. She doesn't seem to notice and with a wave to Sarah heads off towards the funnel cake vendor.

Sarah and Johnny share yet another awkward moment.

JOHNNY  
Thanks for your help. We couldn't  
have done it without you.

SARAH  
I didn't do anything.

JOHNNY  
Yeah you did.  
(beat)  
About what I was going to say  
before--

Sarah shakes her head.

SARAH  
Life paths. Everybody has one.  
Follow it and--

Becky bounds up to them, all noise and energy. She's followed close by Jackie and Bruce.

JOHNNY  
(quiet) Everybody wins.

Becky, Jackie and Bruce stick their treats up to Johnny's face. He looks like he's wearing an Elizabethan collar with the ring of white powdered cakes circling his chin.

BRUCE/JACKIE/BECKY  
Funnel cake!

Everyone but Johnny laughs. He doesn't get the joke.

FADE OUT.

END OF ACT IV

THE END


End file.
